FUNCTIONALLY DIFFERENTIATED COUNTERPOINT

Chapter:

CHAPTER 9 Machaut and His Progeny

Source:

MUSIC FROM THE EARLIEST NOTATIONS TO THE SIXTEENTH CENTURY

Author(s):

Richard Taruskin

As an example of the standard cantilena texture “just as it is, without adding or taking away,” we can look at yet another
Machaut virelai, Tres bonne et belle (Ex. 9-6), the only one to come down in all its sources, exceptionally, as a three-voice composition. The final is C, putting the
song in what we would call the major mode (and what Machaut, if he thought about it at all, would probably have called a transposition
of the Lydian mode, normally pitched on F). The texted part or cantus has a plagal ambitus that puts the final smack in the
middle of its range. The lower tenor and contratenor share a single authentic ambitus, from c to d’.

Citation (MLA):

Richard Taruskin.
"Chapter 9 Machaut and His Progeny."
The Oxford History of Western Music.
Oxford University Press.
New York, USA.
n.d.
Web.
19 Dec. 2018.
<http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-009005.xml>.

Citation (APA):

Taruskin, R. (n.d.). Chapter 9 Machaut and His Progeny. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA.
Retrieved 19 Dec. 2018, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-009005.xml

Citation (Chicago):

Richard Taruskin.
"Chapter 9 Machaut and His Progeny."
In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press.
(New York, USA,
n.d.).
Retrieved 19 Dec. 2018, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-009005.xml

Users without a subscription are not able to see the full content. Please, subscribe or login to access all content.